Further down the psychogeographic road, on Merrion Square North street, I passed a row of artists and walked back again. There I met Peadar Sheerin exhibiting his work.
Paedar, whose work can be found here, illustrates the answer to a question that arose from MojoCON‘s’ floor. That is, what’s the future of mobile journalists and who’s going to pay for what we do?
Wearing an infectious warm smile and speaking in a lilt made for comfort listening radio, Paedar told me he’s been drawing since he was four years of age. He startled his parents by drawing the perfect circle — a feat Michelangelo would use to win epic commissions.
He’d initially spent his career working in the travel industry.
With training at institutions like UCD in various artistic techniques, including Japanese art, it was only a question of time, 2009, before he would join his wife and art would to become a full-time painter.
We spoke briefly about paintings and Hokusai’s famous The Great Waveat Kanagawa which his son had bought for him from Japan — a copy presumably.
And then I promised Paedar that by interviewing him it would convince any number of journalists from the conference to walk down to Merrion Square North street and purchase some his work. Go on!
The Artists’ MirrorPaedar and his artist friends hold the secret to the plight of the future digital mobile journalist. What happens when democracy reigns in art and when the tools are widely available as digital is finding out?
The impressionists of the 19th century, Monet, Manet and Cezanne fought that battle to get their art seen beyond the control of Paris’ entrenched plutocratic and oligarchic Academy.
They became independent and it is their modus operandi that has trickled down decades to become the methodology for Paedar and other artists to operate freely. This time talent would out. To re-use the coined phrase, ‘no one can police you anymore’. The Academy could no longer dictate who was an artist and where they could exhibit.